Music theorists of almost all ages employ a concept of "Nature" to justify observations or statements about music. The understanding of what "Nature" is, however, is subject to cultural and historical differences. In tracing these explanatory strategies and their changes in music theories between c. 1600 and 1900, these essays explore (for the first time in a book-length study) how the multifarious conceptions of nature, located variously between scientific reason and divine power, are brought to bear on (...) music theory and how they affect our understanding of music. (shrink)

Little is known about the harmonic theorist Archestratus (probably early 3rd century BC). Our only substantial information comes from Porphyry, who quotes a brief comment by a certain Didymus on his epistemological stance, and seeks to justify it through reflection on a rather startling technical doctrine which Archestratus propounded; and from Philodemus, who comments scathingly on his view of the relation between harmonic theory and philosophy. Neither passage is easy to interpret; this paper tries to make sense of them, (...) and to set them in an intelligible relation to one another. It argues that the doctrine recorded by Porphyry becomes comprehensible when it is placed against the background of Aristoxenus' work in harmonics, and it discusses Porphyry's inferences about the way in which his epistemological position diverged from that of Aristoxenus. It argues that Philodemus' report gives evidence of Archestratus' interest in issues of central concern to philosophy and in particular of an engagement with Aristotelian thought; it tries to identify some specific questions which attracted his attention, and to explain how he seems to have answered them, and why. It suggests that the two reports can be brought together as elements in a single, though fragmentary picture, and finally that Archestratus can be assigned an interesting though minor role in the history of Peripatetic philosophy and science. (shrink)

At 287c of the Statesman the Eleatic Visitor — or, more deeply, Plato — faces a daunting task. Because statesmanship has been shown to collaborate with “countless” other arts that share with it the work of “caring” for the city, to understand statesmanship requires distinguishing these arts into an intelligible set of kinds and recognizing how these might go together. Accordingly, the Visitor abandons the mode of division he has practiced without exception up until this moment, bifurcation or “halving,” and (...) offers, instead, a sorting of the arts into fifteen kinds of work. How was Plato able to get his bearings towards the heterogeneous multiplicity of the arts in order to do this sorting? In this paper I suggest that he may have found a paradigm in the double octave matrix of notes from which, according to contemporary musical theory, the seven musical “modes” are drawn. To show the plausibility of this suggestion, I first reconstruct the double octave matrix, which was later to be called the Greater Perfect System, and then show a striking series of points of substantive and structural analogy that hold between this matrix and the Visitor’s division of the arts into fifteen kinds. (shrink)

Much controversy surrounds Schenker's mature theory and its attempt to explain musical pitch motion. Becoming Heinrich Schenker brings a new perspective to Schenker's theoretical work, showing that ideas characteristic of his mature theory, although in many respects fundamentally different, developed logically out of his earlier ideas. Robert P. Morgan provides an introduction to Schenker's mature theory and traces its development through all of his major publications, considering each in detail and with numerous music examples. Morgan also (...) explores the relationship between Schenker's theory and his troubled ideology, which crucially influenced the evolution of his ideas and was heavily dependent upon both the empirical and idealist strains of contemporary German philosophical thought. Relying where possible on quotations from Schenker's own words, this book offers a balanced approach to his theory and a unique overview of this central music figure, generally considered to be the most prominent music theorist of the twentieth century. (shrink)

The aim of this paper is to examine how Adorno's aesthetic and musicological thinking was received in Czech and Slovak musicology in the decades between the 60s and the 80s. The focus is on the Czech and Slovak translation of some of Adorno’s musicological treatises and lectures – especially those concerning his views on the Second Vienna School and the musical poetics of its immediate successors – which were published in former Czechoslovakia. The study offers an interesting perspective on Adorno’s (...) relatively unknown lecture Form der neuen Musik and its related, although not identical, Czech version Formové princípy súčasnej hudby [Formal Principles of Contemporary Music] as well as on his discussion with some Slovak composers and musicologists published as Dnes je možné iba radikálne kritické myslenie [Today, Only Radical Critical Thinking is Possible]. The study also considers other scientific texts by Adorno in relation to the above-mentioned translations of his works. The analysis, reflection, and interpretation of Adorno’s works in former Czechoslovakia, as well as their contemporary reception, turn out to be sporadic in the examined period. The purpose of this research is to revive awareness of their significance and to give a new impulse to their reassessment within the current musicological and philosophical reflection. (shrink)

Aristides Quintilianus' dates are not known, but he can hardly be earlier than the first century A.D. or later than the third. Several passages in the early pages of his de Musica1 purport to record facts about the practice of much older theorists, in contexts which make it clear that his references are to the period before Aristoxenus. Since our knowledge of music theory in that period is extremely sketchy, it is obviously worth trying to assess the reliability (...) of Aristides' information. Two of his references have often been recognized as being of special interest, and there is a third, to which, I shall argue, the other two are intimately related. The first records two systems of notation, alleged by Aristides to have been used by oί ρχαîoι. The second is the famous, or notorious, account of certain ‘divisions of the tetrachord’ which were employed by oί πνυαλαιότατoι πρς ρμoνίας. It is these, Aristides tells us, which are mentioned by Plato in the Republic.2 The remaining passage is superficially rather less exciting: it records the names and initial notes of the ρμoνίαι, or forms of octave scale, said to have been distinguished by oί παλαιoί, and says something about a method by which the πoιότης of each can be made clear. The information given here about the nature of the ρμoνίαι is familiar: it is to be found, for example, in Cleonides Eisagoge 19. 4 ff., where rather more detail is given, and where the names of the ρμoνίαι are again ascribed to oί ρχαîoι . I shall suggest, however, that Aristides' version has independent interest. What he tells us in the first two passages is found nowhere else. (shrink)

Aristides Quintilianus' dates are not known, but he can hardly be earlier than the first century A.D. or later than the third. Several passages in the early pages of his de Musica1 purport to record facts about the practice of much older theorists, in contexts which make it clear that his references are to the period before Aristoxenus. Since our knowledge of music theory in that period is extremely sketchy, it is obviously worth trying to assess the reliability (...) of Aristides' information. Two of his references have often been recognized as being of special interest, and there is a third, to which, I shall argue, the other two are intimately related. The first records two systems of notation, alleged by Aristides to have been used by oί ρχαîoι. The second is the famous, or notorious, account of certain ‘divisions of the tetrachord’ which were employed by oί πνυαλαιότατoι πρς ρμoνίας. It is these, Aristides tells us, which are mentioned by Plato in the Republic.2 The remaining passage is superficially rather less exciting: it records the names and initial notes of the ρμoνίαι, or forms of octave scale, said to have been distinguished by oί παλαιoί, and says something about a method by which the πoιότης of each can be made clear. The information given here about the nature of the ρμoνίαι is familiar: it is to be found, for example, in Cleonides Eisagoge 19. 4 ff., where rather more detail is given, and where the names of the ρμoνίαι are again ascribed to oί ρχαîoι. I shall suggest, however, that Aristides' version has independent interest. What he tells us in the first two passages is found nowhere else. (shrink)

In Music in the Mirror, thirteen distinguished scholars explore the concept of music, music theory, and music literature as mirror images of one another?whether real or distorted. Encompassing the history of music and music theory and literature from the Middle Ages to the present, these essays, in their reconsideration of the relationships among music, theory, and literature, offer new approaches and articulate compelling visions for future research.

Resumen: Debido a varias razones históricas y realistas, el desarrollo de la teoríeorlsica de la mlsica en China se queda atrátrra cuanto al sistema de enseñanza, el contenido de la enseñanza y otros aspectos. Es una tarea importante para los trabajadores chinos de la misica revisar o complementar la teoríeorteorntar sica actual y los libros de texto relacionados, y luego construir un sistema de disciplina de la teoríeorla teordesica en China. Este artículo sintetiza las teoríeorreorr educacióducacirr las tehistoria de la (...) m sica, la cultura musical, la morfologíorfolog, la otras disciplinas relacionadas, utiliza valores científicos, objetivos y racionales y conceptos holísticos y comprensivos, toma el desarrollo de la educacióducaciedteoríeoracieducacsica de China como objeto de investigaciónvesttoma la historia como espejo para seguir considerando y prospectar la construccióonstrusistema de disciplina de la teoríeorla teordesica de China. Los fundamentos de la mtsica china pueden dividirse, a grandes rasgos, en tres periodos: (1) desde principios del siglo XX hasta la fundacióundacita la blica Popular China; (2) desde ese momento hasta el periodo de reforma y apertura; y (3) desde el periodo de reforma y apertura hasta la actualidad. La teoríeor teord. La teord. evolucionóvoluciond. La teord. Lfundacióundaciond. Lblica Popular China a travéravulun proceso de aceptaciócepasiva y absorcióbsactiva, como puede observarse en el desarrollo de la enseñanza de la teoríeorla teorde la ene lasica china y sus materiales didrcticos. La teoríeor teora teordidiales dpropagórprincipalmente desde el palacio a la iglesia, luego a las escuelas y finalmente a la sociedad. Como resultado, la enseñanza de la teoría musical china evolucionóvprogresivamente hacia un sistema menor mayor como modo dominante, y los fundamentos de la mtsica china se desviaron gradualmente. Tras el establecimiento de la Repiblica Popular China, la investigaciónvestigaciina, lprofundizado, lo que ha beneficiado el crecimiento de la disciplina de la teoríeorla teorbásica, que ahora se dirige hacia la diversificacióiversifprofundidad. El desarrollo de la teoríeorla teorde la teor teor de la tecontado con la ayuda de varios music musicusieducadores musicales de diversos campos académicos y puntos de vista de la investigaciónvestimodelo ideal de la construccióonstruccdisciplina de la teoríeorla teorde la teoconcibe sobre la base del principio de “combinar la historia con la teoríeor la tpeinar el desarrollo de la teoríeorla teordesica en China. Este modelo fomenta la integracióntegraciteoríeorgracirasica tradicional y la teoríeora teorlsica moderna desde una perspectiva diacrónica, refuerza la unidad del padel pal pmundo en la teoríeorla teorsica bcsica desde una perspectiva sincrónica, y presta atenciótenciiaconnotacióonnotacitecnología en su conjunto. (shrink)

Petrarch’s description of his ascent of Mont Ventoux in 1336 provides a point of departure for exploring the dynamic between the old and new, logic and rhetoric, absolute and relative knowledge, and scholasticism and humanism in writings on music from early fifteenth-century Padua. Early fifteenth-century Padua was a city of contrasts in which two intellectual traditions – one condemned by Petrarch and the other his legacy – ran alongside, and often entangled with, each other: scholasticism and early humanism. The (...) writings on music of Paduan citizens Johannes Ciconia and Prosdocimo de’ Beldomandi afford insights into the reception of these intellectual traditions. Ciconia’s Nova musica embraces the spirit of early humanism by proposing a revolutionary understanding of music as grammar and rhetoric, largely from the perspective of some of the oldest authors of Latin music theory. Prosdocimo’s scholastic approach to musical knowledge nonetheless demonstrates an interest in the aesthetics of listening that emphasises the role of emotion, especially pleasure, in musical experience. Yet, Ciconia alone provides the most forceful exposition of an emotional theory of musical expression that ultimately manifests itself in the music that he composed during the last decade or so of his life in Padua. (shrink)

Opće i glazbeno obrazovanje u situaciji pandemije u potpunosti je prešlo na model učenja na daljinu. Istraživanjem se željelo ustanoviti koje su didaktičke pristupe primjenjivali učitelji i učenici u slovenskim glazbenim školama tijekom asinkronog učenja na daljinu. Na uzorku od 9 aktivnih učitelja i 16 učenika analiziran je 31 interaktivni nastavni materijal kako bi se odredili inovativni didaktički pristupi u korištenju digitalne tehnologije s ciljem ostvarenja ishoda učenja na nastavi Glazbene teorije i Solfeggia. Primjenom kvalitativnih i kvantitativnih metoda došlo se (...) do rezultata koji ukazuju na nisku zastupljenost didaktičkih pristupa koji koriste digitalne tehnologije. Iako su rezultati pokazali visoku učestalost korištenja digitalne tehnologije među učenicima, istaknuta je i prisutnost materijala za e-učenje te tradicionalnih nastavnih pristupa, poput onih korištenih u klasičnom tipu učioničke nastave. (shrink)

The work of Robert Hooke on acoustics and music theory is a larger subject than might seem the case from studies of his career so far available. First, there are his experiments for the Royal Society which can be defined as purely acoustical, which anticipate later experiments performed by men such as J. Sauveur and E. Chladni. Second, there are passages in many of his writings which by extensive use of musical analogy attempt to account for all physical (...) phenomena of the universe, which operates on the principles of ‘harmony’ and ‘dissonance’. It is in this context that the hitherto unpublished manuscript presented at the end of this paper should be considered. This essay, which combines both the older tradition of the ‘praise of music’ and the newer consideration of the physical nature of musical sound, illustrates a particular aspect of Hooke's thought which exercised a profound influence on all his studies. (shrink)

This dissertation is comprised of two big essays. The first seeks to understand what is at stake in the project of music analysis writ large. I argue for adopting a conception of musical analysis as a practical activity oriented toward the having of what Dewey calls "integral experiences." I cash out this idea with help from Wittgenstein's notion of aspect perception ("seeing as"), whose musical applications I demonstrate in a discussion of Beethoven's "Moonlight" sonata. I then use my model (...) of music analysis to give a reading of David Lewin's analysis of Schubert's "Morgengruss." The second essay seeks to understand what is at stake in the project of Schenkerian musical analysis in particular. I offer an extended reconstruction of Schenker's theory of organic unity in response to objections to Schenker's "necessitarian" language, i.e. his penchant for claiming that a musical masterwork must be as it is (in some to-be-determined sense of "must"). I accomplish this by giving a normative reading of Schenker's theory of absolute music, a reading which understands Schenker's musical absolutism as at root a theory of the proper norms of musical hearing. I then argue that the observance of these norms induces one to explain musical structures teleologically. Schenker's necessitarian language, I contend, makes sense once it is situated within the context of Kant's theory of biological explanation, as set out in his Critique of Teleological Judgment, the second half of his Critique of the Power of Judgment. (shrink)

Words are signs that refer to particular things. … The meaning of a tone, however, lies not in what it points to but in the pointing itself; more precisely, in the different way, in the individual gesture, with which each tone points toward the same place.The five tones deafen our ears.In comparing the semiotics of language and music, Western music theorist Victor Zuckerkandl identified what he saw as a fundamental difference: words had the hetero-referential capability of pointing beyond (...) themselves, beyond the realm of the system of language entirely, whereas the semiotics of music was a closed deictic system wherein tones only pointed to one another. Further, the very distinction between meaningful and.. (shrink)

(1983). Robert Hooke's Trinity College ‘Musick Scripts’, his music theory and the role of music in his cosmology. Annals of Science: Vol. 40, No. 6, pp. 559-595.

With the outbreak of the pandemic, general and music education shifted completely to remote learning as the only possible form. The research looks into didactic approaches using digital technology adopted by active teachers and students in the Slovenian music school in asynchronous distance learning. On a sample of 9 active teachers and 16 students, the research study examined 31 interactive learning materials in order to identify innovative didactic approaches using digital tools which were applied to achieve learning objectives (...) within musical activities of the Music Theory and Solfeggio. Based on qualitative-quantitative approach, the research showed a low presence of didactic approaches using digital tools. Even though the results show a higher level of use of digital technology among students, the research focused much more on the presence of e-learning materials as well as predominantly traditional teaching approaches, similar to the classical type of classroom teaching. Opće i glazbeno obrazovanje u situaciji pandemije u potpunosti je prešlo na model učenja na daljinu. Istraživanjem se željelo ustanoviti koje su didaktičke pristupe primjenjivali učitelji i učenici u slovenskim glazbenim školama tijekom asinkronog učenja na daljinu. Na uzorku od 9 aktivnih učitelja i 16 učenika analiziran je 31 interaktivni nastavni materijal kako bi se odredili inovativni didaktički pristupi u korištenju digitalne tehnologije s ciljem ostvarenja ishoda učenja na nastavi Glazbene teorije i Solfeggia. Primjenom kvalitativnih i kvantitativnih metoda došlo se do rezultata koji ukazuju na nisku zastupljenost didaktičkih pristupa koji koriste digitalne tehnologije. Iako su rezultati pokazali visoku učestalost korištenja digitalne tehnologije među učenicima, istaknuta je i prisutnost materijala za e-učenje te tradicionalnih nastavnih pristupa, poput onih korištenih u klasičnom tipu učioničke nastave. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Harmony Between Rousseau’s Musical Theory and his PhilosophyJohn T. ScottRousseau is best known as the author of philosophic works, but he was a musician and musical theorist before he burst onto the European literary scene with his First Discourse. While he earned celebrity as an anti-philosophical philosopher, he continued to consider music as his primary vocation and avocation throughout his life. Rousseau testifies to the harmony (...) between his musical work and his philosophy in his Dialogues, where he explains that his musical writings and compositions are animated by the same feelings and ideas as all of his works—that they too are based on the principle of his “system” that “man is good although men are wicked.” 1 His mature musical theory not only incorporates his philosophy of human nature and development but also extends it through an examination of the role of the passions in human communication. Rousseau’s musical theory is an important, yet often overlooked, facet of his philosophy.The relationship between Rousseau’s musical theory and his philosophy as a whole has seldom been extensively analyzed. 2 His only widely known writing relating to music is the Essay on the Origin of Languages, but even that work has in general not received a full accounting because it has rarely been interpreted in light of his other musical writings. The Essay emerged out of both the Second Discourse and the contemporaneous musical polemics of the mid-1750s. The simultaneous elaboration of his “system” and his continued work on music was the context in which Rousseau’s mature musical theory developed. After an account of Rousseau’s pre-systematic musical writings and [End Page 287] a discussion of the development of his musical theory, I will turn to an examination of the Essay. Finally, I will conclude by discussing Rousseau’s novel aesthetic theory and its impact.Rousseau’s Presystematic Musical Writings“Jean-Jacques was born for music.” 3 Rousseau’s musical writings might be characterized as his attempt to account for his native love for music. In his Confessions he speaks of “the taste or rather passion for music” that he had almost from birth and says that it was while in Italy, after running away from Geneva at age sixteen, that his passion began to declare itself. 4 Rousseau increasingly indulged his love for music over the next several years, although six months in a choir school at about the age of seventeen was almost the only formal musical instruction he received. He acquired and painstakingly mastered Rameau’s Treatise on Harmony, and studied informally with a young organist with Italian training, recalling how he compared his friend’s “principles” to those of “my Rameau.” 5 At least in retrospect, then, Rousseau noted the contrast between French and Italian music that would later bring him into conflict with his youthful hero.Rousseau soon took up the profession of a music teacher and copyist, a trade to which he would return after abandoning philosophy. Copying music acquainted him with the difficulty of the ordinary visual system of notating music, and he therefore devised a numerical system. It was with his system of notation and a play, Narcisse, that Rousseau set out for Paris in 1741. He gained an audience for his “Plan Regarding New Signs for Music” (1742) at the Academy of Sciences, and while it was favorably received, the report of a select committee concluded that his system was not entirely new and was less practical in most respects than the ordinary system. 6 Rousseau was nonetheless convinced of his system’s utility and published it as the Dissertation on Modern Music (1743). This work contains a digression on musical expression where he explains that we are not “touched” by sounds themselves but by the harmonic relationships they have among them. He sends his reader to Rameau’s writings, where the source of musical expression is “sufficiently explained.” 7 In his mature musical writings Rousseau expounds a theory explicitly opposed to Rameau’s theory of musical expression.Several incidents in the next decade before the discovery of his “system” seem to have contributed to Rousseau’s subsequent break with Rameau. [End... (shrink)

It has often been claimed, and frequently denied, that music derives some or all of its artistic value from the relation in which it stands to the emotions. This book presents and subjects to critical examination the chief theories about the relationship between the art of music and the emotions.

The effect of music in Greek and Latin literature -- The impact and value of music according to ancient theorists -- The value of music in systematic analysis : philosophical and psychological considerations.